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You are the only Inception

August 3, 2010

First things first, there is a piece of blogger courtesy to get out of the way before I can go on with the post: SPOILERS.

There, now that you are suitably forewarned, allow me to engage in a ridiculous display of fanboy squee-ing (this kind of thing is why I should never be allowed near Comic-Con or any similar shindig).

I’m unusual among other movie geeks of my generation; in terms of Chris Nolan, I really enjoyed The Prestige, am indifferent to his Batman offerings, and have never seen Memento. Yes, you read that right. I have no reason not to watch it, it’s just that circumstance has prevented me from sitting down and getting on with it. But given my feelings about his latest, I reckon I’d probably love it. I promise to watch it in the near future, honest.

Inception is that rare thing — a summer blockbuster that (dear god, can it be?) actually lives up to its hype. As a fervent devotee of Ellen Page, I was keen to see it from my first viewing of the trailer, even if it left me thinking ‘well what the fuck just happened?’.  Throw into the mix Michael Caine, Joseph Gordon-Levitt Cillian Murphy and the sight of Parisian streets folding in on themselves like a concrete tsunami, and I was hooked. I’m not too fussed about Leo, though seeing The Departed a few months ago certainly raised my estimation of him after years wallowing in post-Titanic ennui.

DiCaprio’s new starring role expects — nay, demands — to be seen in the cinema. It may even benefit from the iMax treatment…something I never dreamed I would say. Pun very much intended there. But the sheer scale of Inception cries out for big-screen viewing, not to mention the retinal banquet that was the cinematography. The scenes in which Gordon-Levitt floats in free-fall down a corridor like an M.C. Escher remake of The Shining had me squirming in my seat with film-buff glee. Even in St Andrews’s teensy second screen, I was limp-jawed as a fish pretty much throughout. This may have been due to both the visuals and the plot, which was a brain-blasting mix of romance, action, high-minded psychology and…architecture.

Despite being told by various friends that the film would leave me floundering in confusion (loving the fish analogies today for some reason), I found the basic plotline fairly straightforward. Of course, Nolan did his signature fiddling with linear narrative convention, but I was expecting that. Aside from the BIG DRAMATIC FINAL SCENE (OH MY GOD IS IT GOING TO FALL OVER?!), Nolan pretty much answered every question he posed. The finalé, while infuriating, was masterful; my knuckles haven’t gone that white since the closing scenes of Notorious or Wait Until Dark.

Though I may never be able to forgive Chris for allowing a character who designs labyrinths to be named Ariadne. I mean, come on.

Now, to justify the title of this post and cement the role of Twitter trending topics in my choice of content, here is a gratuitous picture of Paramore’s Hayley Williams (my other significant girl-crush along with the aforementioned Page):


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